H-France Review Vol. 21 (April 2021), No. 68 Evelyne Cohen, Anaïs Fléchet, Pascale Gœ

H-France Review Volume 21 (2021) Page 1 H-France Review Vol. 21 (April 2021), No. 68 Evelyne Cohen, Anaïs Fléchet, Pascale Gœtschel, Laurent Martin, and Pascal Ory, eds., Cultural History in France: Local Debates, Global Perspectives. New York: Routledge, 2020. xi +332 pp. Annex and contributors. $160.00 U.S. (cl). ISBN 9780367271879. Review by Jennifer M. Jones, Rutgers University. The essays in Cultural History in France: Local Debates, Global Perspectives provide thought- provoking snapshots of the key questions and debates with which practitioners of cultural history in France have wrestled over the past two decades. Among other virtues, the collection reminds us that historians in France probed a different set of questions about cultural history and faced different stakes than their American counterparts because of each country’s distinctive intellectual and institutional culture. English-speaking historians will recognize some familiar territory such as the tension between social history and cultural history, and will also encounter some distinctly French debates produced within the context of French intellectual and scholarly traditions. Whether returning to these debates over the meaning and practice of cultural history or encountering them the first time, many historians in France, the UK, Europe and around the globe will find this collection intellectually, methodologically, and perhaps even politically stimulating. The book was first published in French in 2011 with essays drawn from keynote addresses and thematic roundtables at the annual conferences organized by the Association pour le développement de l’histoire culturelle (ADHC), a French association founded in 2000 “to contribute to the progress of the conceptualization efforts in this field” (p.329).[1] Five additional essays were added to the revised and augmented 2019 English language edition under review.[2] The volume’s thirty- seven essays are divided into four sections: “Definitions and Frontiers,” “Subjects,” “Memory and History,” and “Perspectives and Transfers.” They include essays by the leading historians in the field such as Jean-François Sirinelli, co-editor of Pour une histoire culturelle (1997) and Pascal Ory, president of the ADHC and author of L’histoire culturelle (2004), as well as many other historians with whom the H-France community will be familiar.[3] The collection is heavily skewed towards modern and contemporary history, with the exception of essays by medievalist Michel Pastoureau and early modernists Peter Burke, George Vigarello, and Arlette Farge. The majority of essays are by French scholars, with additional contributors from Belgium, the UK, Italy, and Israel. There are no contributors from the United States, underscoring the gulf between the American and French communities of cultural historians that this collection marks and may perhaps help to bridge. H-France Review Volume 21 (2021) Page 2 Part one, “Definitions and Frontiers,” traces the animated debate over the definition and boundaries of cultural history within the community of cultural historians in France during the past twenty years. ADHC’s annual conference not only established the legitimacy of cultural history in France but also created a space in which to question the increasing ubiquity of cultural history and its seeming hegemonic “conquest” of the field of historical studies (p.3). The essays in this section probe, in turn, the interface between contemporary cultural history and political history, the distinction between mediology and cultural history, the relationship of cultural history to literary history, the importance of grounding cultural history in economic and social history, the porous boundary between cultural history and media history, the new field of the history of legal cultures, and the potentially beneficial dialog between cultural sociology and cultural history. Many of the essays embrace a definition of cultural history as the “social history of representations,” a conceptualization suggested originally by Roger Chartier and Pascal Ory (p. 3). As Loïc Vadelorge asserts in his introduction to part one, this expression “seems to have achieved a consensus” (p. 3). Yet, the essays in this section also suggest that “social history of representations” is perhaps too broad to illuminate the creative approaches of a number of subfields of cultural history, too generic to capture the revolutionary methodology of cultural history, and/or too limited to address questions in newer fields such as the history of knowledge. In “What is Mediology?” Régis Debray urges his readers to expand their definition of culture and representation to include “the technical systems and devices that organize [culture and representations], give rise to them, or make them disappear,” so as to avoid the trap of thinking that culture is simply “what happens in people’s heads” (pp. 18-19). Jean-François Sirinelli boldly argues that because cultural history analyzes the process of how reality is perceived, it “finds itself either directly or indirectly at the heart of any historic approach...” (p. 7). Peter Burke’s stimulating address to the 2013 ADHC Congress insists on the necessity of re-connecting cultural history to social history: “Today…a quarter of a century later, we may be in need of a reaction against that reaction [the cultural turn], a return to a harder sort of history…. Long live pluralism!” (p. 46). Institutional tensions and academic boundaries haunted the debate over cultural history at the ADHC Congress in the 2000s. Paul Aron’s 2004 address calls for greater institutional openness in France to newer approaches to literary history. In Aron’s talk, as in many others in the collection, we sense academics straining against the institutional constraints in French higher education and scholarship. Essays by both Sirinelli and Anne-Claude Ambroise-Rendu address the particular challenges of defining cultural history within the field of contemporary history. Vadelorge observes that historians of contemporary French culture found that grounding the new cultural history in social history kept “academic doors open” to them in France (p. 3). But, as Sirinelli argues, within contemporary history, cultural history is actually closer to the approaches of political history than to social history. Another challenge, which Vadelorge notes is probably specific to France, consists in distinguishing cultural history from cultural studies, the history of ideas, and studies of iconography. Sociology is the discipline many of the collection’s participants turn to for theoretical insights and institutional models, and Pierre Bourdieu’s ideas are cited most frequently in discussions of theory, concepts, and methods. The considerable weight of sociology and contemporary history in the construction of French cultural history may explain one mysterious lacuna in the collection: None of the contributors directly and comprehensively address the relationship of the history of mentalities to cultural history. H-France Review Volume 21 (2021) Page 3 Part two, “Subjects,” offers a collection of insights on the practice of cultural history, ranging from Michael Pastoureau’s essay on the epistemological and methodological challenges historians confront when encountering color in history, to George Vigarello’s charting of changing sensibilities of the inner body, to Alain Corbin’s overview of approaches to the somatic experience of the weather, to Michelle Perrot’s reflections on how she came to study George Sand’s hometown of Nohant. For students and scholars new to the field of cultural history, this section provides a valuable sampler of different approaches. Pascal Ory’s essay on the relation of popular culture to mass culture explores key French conceptual categories (such as consumer society and youth culture) with keen attention to differences in terminology in Anglophone and Francophone contexts. Anaïs Fléchet addresses the critical question of why some subjects, such as the history of music, have been neglected by historians and have largely been researched from the perspectives of scholars in adjacent disciplines such as musicology. A self-reflective essay by Arlette Farge includes a moving description of how she writes to capture the fragmentations and discontinuities in history (p. 123). The devotion of part three to essays on memory and history evinces the foundational role of Pierre Nora’s work in shaping modern cultural history in France and in Europe.[4] In his introduction to part three, Laurent Martin reminds readers of the important role the field played in deconstructing the “centralized, chronological history of France” by exploring the conflicting memories in French culture (p. 204). The question of whether Nora’s approach, so solidly grounded in the continuities of French national culture, can be applied to other national contexts, provides the focus for several essays. Mario Isnenghi discusses the distinctive challenges of studying history and memory in the context of Italy in his three-volume work, I luoghi della memoria nell’Italia unita.[5] Manuela Martini reflects on the subjective and collective nature of history and memory projects as thrown into relief by the translation of Isneghi’s book into French as L’Italie par elle-même. Étienne François’s 2007 address to the ADHC Congress reported on the success of his application of the history and memory approach to German cultural history, resulting in his historicization of 120 German sites of memory. Annette Becker’s

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